Unit Planning - Commedia Dell'Arte (Drama 20)

8/9/2019 Unit Planning - Commedia Dell'Arte (Drama 20)

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COMMEDIA DELL’ARTE

Drama 20

5 Week Unit Plan

Miss Daver & Mr. Eljamal



Ms. Daver & Mr. Eljamal

Drama 20: Grade 11

5 Credits (90 min x 5 days x 17 weeks)

Course Rationale & Objective: .

“Drama is both an art form and a medium for learning and teaching. It can develop a whole person —

emotionally, physically, intellectually, imaginatively, aesthetically, and socially” (Teaching Resource Manual). The Drama 20 course focuses on improving students’ acting and playwriting skills, which contribute to helping foster

positive communication skills by broadening their empathetic understanding of how other people think and react.

Course Outline: .

Unit 1: Orientation (1 week)

Students will get to know each other, the space, the teacher and the course content. The goal is to feel a sense

of comfort and ease upon entering the drama classroom. / (Technical Theatre: Stage 1-5)

Unit 2: Reader’s Theatre (2 weeks) - Speech/Improvisation/Acting [10%]

Reader’s Theatre will help students develop a better sense of how to use their vocal instruments. By having

the students play with text in a strictly verbal format, they will learn to develop characterization that adds a

level of reality to their dramatic practice. It will also aid with natural speech tendencies such as: public

speaking, oral speech, and articulation. By allowing students to select the text they work with, it connects

them to their interest and encourages further participation. / (Speech 15-17; Improv 36, Acting 7, 9, 12 & 15)

Participation will account for 10% of this unit.

Unit 3: Scene Study and Monologues (4 weeks) - Speech/Acting/Playwriting [25%]

Students will choose monologues from existing plays and will prepare them for performance. This work will

include, choosing a script, analyzing the content, and researching their playwright. Students will also have the

opportunity to work a scene with another classmate in class. / (Speech 18-20; Acting 1, 3, 8, & 11;

Playwriting 3, 8 & 9)


Unit 4: Theatre for Young Audiences (4 weeks) - Speech/Acting/Playwriting [30%]

Theatre for Young Audiences (TYA) focuses on creating theatre for children aged 6-12. We will explore each

level of a short play (background, characters, setting, climax, turning point, resolution) which will enhance

student knowledge for their playwriting unit. They will also work on blending their skills from the Clowning

and Reader’s Theatre units to prepare short performances (5 mins) which will then be presented to an

elementary school. / (Speech 21; Acting 10, 13 & 16; Playwriting 5, 12, 10)


Unit 5: Commedia dell’Arte (5 weeks) - Playwriting/Acting/Improvisation/Technical Theatre//Theatre

Studies [35%]

See below for rationale and long-term goals. / (Playwriting 1, 2, 4-7, 11, 13; Acting 2, 4-6, 14, 17; Improv

33-35; Tech Theatre: Costume 1-8, Theatre Studies: Medieval Theatre; ICT C7 2.1 & C7 4.1;)


Unit 6: Theatresports (1 week) - Improvisation

This unit takes place during the week back from January, prior to final exams. Students will have the

opportunity to engage in a mini-improvised competition in class and improvised sketch comedies. / (Improv

34 & 36)




Unit Rationale (UNIT 4 - Commedia dell’Arte) .

Commedia dell’Arte is an artform that uses a set amount of archetypal characters to tell a multitude of stories..

Using these archetypes, the students will explore situational comedy through improvisational exercises and then begin

to create 10-page storylines that feed off their in-class work. We believe that using Commedia dell’Arte in conjunction

with the playwriting discipline will allow students to focus on the playwriting process, while receiving inspiration

through previously established characters (i.e.; pantalone, innamorato, brighella, etc.)The Alberta Education Program of Studies for Drama (1989) lends itself to this form through the disciplines

of Playwriting, Improvisation, and Acting. By building on previous units in the course, students will come into

Commedia dell’Arte with already-established skills that they may use towards the creation and performance of their

short play. Through their creations, students will be encouraged to write in a non-traditional manner—an exercise that

will help hone their communication skills and aid them in different areas of their study, as well as future careers.

Commedia dell’Arte expresses students’ interest, needs and diversity by allowing the students to explore

through a variety of disciplines and a multitude of activities, some of which will be student-directed. The unit will

allow for every student to express this particular style of theatre through the creation of a short scripted performance. It

also serves to satisfy the “medieval theatre” portion of the required theatre forms in the Senior High Drama program of

studies (p.82)

Unit Long-Term Aims (UNIT 4 - Commedia dell’Arte) .

This unit has been designed with three aims in mind. Each aim serves to measure students developing skills in the

playwriting, acting and Improvisation disciplines.

AIM #1: tudents will demonstrate their ability to use character in a play.

Students will do this by improvising scenes that pull from the Commedia dell’Arte characters they have

studied. The following learner expectations from the Alberta Education Drama Curriculum will be met:

identify character types and their functions and attributes ( 6, playwriting)

demonstrate understanding that a character’s behaviour is motivated by past, present and anticipated future

experiences ( 4, acting)

demonstrate a character’s main objective within a scene ( 5, acting)

construct a conflict between two characters (protagonist and antagonist) ( 11, playwriting)

sustain a single character in a variety of situations ( 33, improvisation)

demonstrate understanding of the purpose of costume ( 1 technical theatre: costume)

AIM 2: Students will demonstrate their ability to organize thoughts into a cohesive document.

Students will do this by writing a ten-paged play that pulls from the Commedia dell’Arte archetypes they have

studied. The following learner expectations from the Alberta Ed. Drama Curriculum will be met:

demonstrate understanding of the basic structure of a play (#1, playwriting)

define and identify plot, character, thought and diction (#2, playwriting)

generate and collect ideas that have dramatic possibilities (#4, playwriting)

demonstrate understanding of and write exposition (#7, playwriting)

create and use an interior monologue (#17, acting)

identify and use operative words in a script (#14, acting)

AIM #3:

Students will demonstrate their ability to transfer their vision onto the stage.

Students will do this by staging a portion of their ten-paged play which will be peer evaluated. The following

learner expectations from the Alberta Ed. Drama Curriculum will be met:

Give and accept constructive criticism ( 13, playwriting)

Create, select and sustain physical details from the character from scripted material ( 2, acting)

Demonstrate a character’s immediate or moment to moment objectives within a scene ( 6, acting)

Recognize the elements of critique ( 3, Theatre Studies)

Demonstrate understanding of how the use of levels and planes can focus the stage picture ( 35,

improvisation)




DRAMA CURRICULUM OVERVIEW .

DRAMA 10 CURRICULUM


Unit 2: Theatresports — Improvisation focused (3 weeks) [20 %]

Unit 3: Presenting Children’s Literature — Speech focused (3 weeks) [20%]

Unit 4: Stage Combat — Movement focused (3 weeks) [20%] Unit 5: Intro to Clown — Movement focused (2 weeks) [10]

Unit 6: Space and Time — Movement focused (5 week) [30%]

DRAMA 20 CURRICULUM


Unit 2: Reader’s Theatre (2 weeks) — Speech focused [10%]

Unit 3: Scene Study and Monologues (4 weeks) — Acting focused [25%]

Unit 4: Theatre for Young Audiences (4 weeks) — Acting focused [30%]

Unit 5: Commedia dell’Arte (5 weeks) — Playwriting focused [35%]

Unit 6: Theatresports (1 week) — Improvisation focused

DRAMA 30 CURRICULUM


Unit 2: Vocal Masque — Improvisation focused (4 weeks) [25%]

Unit 3: Intro to Musical Theatre — Speech focused (2 weeks) [15%]

Unit 4: Shakespeare — Acting focused (3 weeks) [20%]

Unit 5: Ten Minute Plays — Directing focused (7 weeks) [40%]










Scope & Sequence Chart (UNIT 4 - Commedia dell’Arte) — [35%] .

Lesson #1 Lesson #2

TITLE OF LESSON Commedia Archetypes

(Inquiry Learning)

Mask-Making

(Craft-based Learning)

LENGTH OF LESSON 4 class periods 5 class periods

OBJECTIVES Main: #4 & #6 Playwriting;

Theatre Studies: Medieval Theatre

Supporting : ICT C7 #2.1 & C7 #4.1

Main: #1-8 Tech Theatre: Costume;

#2 Acting

Supporting: #33 Improvisation

ANTICIPATORY

SET/WARM-UPCommedia Intro

Teachers enter in mask

1-minute performance to introduce Commedia

dell’Arte Discuss how Commedia dell’Arte can lend itself

to playwriting

Sample Masks Bring in sample commedia masks from previous years

Display masks and have students guess which mask would

belong to which of the commedia archetypes researched in the previous unit.

Discuss what qualities in each mask make us associate them

with particular archetypes (colour, shape, size, weight, etc…)

ACTIVITIES Lab Research 1 class period

Inquiry-based learning about a particular

commedia archetype

Research is done 14 groups of two or three

Each group has one commedia archetype

Research Prep 1 class period

Finishing up research

Putting together presentations

Students print enough 1-paged summaries for

each playwriting group

Presentations 1.5 class periods Groups present their commedia archetype

Each presentation has a 10-minute cap-off

Playwright Groups 0.5 class periods Students decide on commedia character they

want to play.

Students get into 10 playwright groups of 3 or 4.

No two characters can belong in the same group

Building Mask Base 3 class periods Each student gets a plastic half-mask as base.

Students will get together in their playwriting groups of 3 and

decide which archetype is inspiring their build (all 3 masks

must be different)

Students will each get a roll of masking tape and build uponthe plastic mask, fabricating additional features

Students will paper mache over top of the tape structure and

wait for this to dry.

Mask Painting 1 class period Students will paint dry mask with acrylic paint, highlighting

desired features.

Mask Exploration

1 class period Students allow masks to influence their movement through a

series of guided activities and exercises.

PURCHASED MATERIALS

36 plastic masks ($23.00); Two Spools of thick elastic ($10.00);

10 rolls of masking tape ($50.00); Flour ($5.50);

Newspaper: Reuse Center

EVALUATION Formal/Summative

Daily Participation (averaged for 10% full unit)

Commedia Archetype Presentation &

Handout (20%)

Formal/Summative


Mask (10%)

DIFFERENTIATION Students who have trouble with web based research

will have access to the library for book resources and

librarian assistance.

Students who express lack of confidence with artistic techniques

will be paired up by the teachers with students who are more

confident, for additional assistance and support.




Lesson #3 Lesson #4

TITLE OF LESSON Character Exploration

(Improv-based Learning)Documentation

LENGTH OF LESSON 3 class periods 4 class periods

OBJECTIVES Main: #5, #4 acting,

Supporting: #2 playwriting,

#33 improvisation

Main : #1, #7, #11 playwriting;

Supporting: #14, #17 acting

ICT P1 1.1

ANTICIPATORY

SET/WARM-UP Character Exploration

Character Questionnaire Free Writing

ACTIVITIES Atmosphere Walks 0.5 class period Explore the Laban principles in mask. Use scenarios to influence movement

(ie: “There’s a storm coming and you’re walking home...it

starts to rain...now it’s raining even harder!”

Physicalized Story: Build on Laban 0.5 class period Students mime a narrated story, based on suggestions pulled

from a hat. (i.e. a party, a breakup)

One Word Story! 0.5 class period

Students narrate a story one word at a time in a circle based

on a suggestion or theme.

Merging Dialogues 0.5 class period Students will explore the space in mask, and begin to interact

with one another and create stories that they build on.

Image Connection 0.5 class period Students will explore the space in mask, and begin to interact

with one another and create stories that they build on.

Mask Activitys 0.5 class period

Students will trade masks and explore new characters

through a series of guided scenarios and movements.

* at the end of each activity, students will jot down relevant ideas

in a Playwriting Idea-Books; ideas or images jotted down that

they believe will contribute strongly to their finished play.

Script-Writing Discussion 0.5 class period Class will discuss elements of script-writing

How to format a script

How to document stage directions

How to write dialogue

How to organize scenes and units

How to incorporate plot, character, thought and

diction within a play

Script-Breakdown 0.5 class period

Class will compile their ideas; discuss themes, ideas.

Students will reflect on their idea-books and bringforth ideas that came up in character exploration.

Students will make a 1-page summary outlining:

Setting(s) / Location(s)

Characters (Protagonist & Antagonist)

Exposition

Inciting incident

Rising Action

Climax Falling Action

Denouement

Script-Writing in Lab 3 class period Students will work on computers and compose a

ten-page scripted Commedia dell’Arte-based

performance

EVALUATION Formal/Summative


Idea-Books (10%)

Informal/Formative

Written feedback on scripts

Students may make revisions to script

Formal/Summative

Daily Participation (averaged for 10% full

unit)

Final Script (

25%)

DIFFERENTIATION Students will be encouraged to explore characters in a multitude

of ways: in writing, by verbalized expression of thought,

through a visual organizer, such as a mind map or brain dump

activity.

Students struggling to write 3 class periods straight may

choose to workshop portions of their play in the theatre

and/or drama room.




Lesson #5

TITLE OF LESSONPerformance Creation and Presentation

LENGTH OF LESSON 5 class-periods

OBJECTIVES Main : #6 acting,

#34, #35 improvisation,

Supporting : #3 theatre studies,

#13 playwriting

ANTICIPATORY

SET/WARM-UPTableaux

Students will prepare and present 3-5 tableaux

Each tableau will serve to give playwrights a visual of what their script would look like on

stage (ie: beginning image, middle image, ending image)

Shake Down

ACTIVITIES Scene Rehearsal 3 class periods Students will select one scene from their play to perform for the class

Students will embody characters represented by the mask that they have made.

Students will focus on: objective/characterization, blocking, pace, timing, costume, &

memorization.

Scene Performance 2 class periods Students will perform their scene and receive both peer and teacher feedback

Students will watch all other scene performances and provide feedback.

EVALUATION Informal/Formative

Students will receive the verbalized peer feedback.

Formal/Summative

Daily Participation (averaged for 10% full

unit)

Final Performance (25%)

DIFFERENTIATION ELL students may use their scripts on stage for reference, during performance.

Students may rehearse and perform their scene outside of the drama room/theatre if it supports

their storyline better, as long as it is on the school grounds.

Students may choose to film their scene and present it in class, if they feel that the medium

would better suit their script.



SUBJECT: DRAMA 20 TOPIC: COMMEDIA ARCHETYPES (Inquiry Learning)

UNIT: 4 — Commedia dell’Arte

MATERIALS:• Sample masks

• Computer Lab• Chromebooks

LESSON OBJECTIVES:MAIN:

• “generate and collect ideas that have dramatic possibilities” (#4, playwriting)

• “identify character types and their functions and attributes” (#6 playwriting)

• Theatre Studies: Medieval Theatre

TIME:

10 mins

1 class(80 mins)

INTRODUCTION: Commedia Introduction

• Teachers enter in mask and perform a 1-minute piece to introduce Commediadell’Arte

• Discus brief history of Commedia dell’Arte

• “Commedia dell’Arte is characterized by masked types”

• “Began in Italy in the 16th century and was responsible for the advent of the actresses and improvised performances based on sketches or scenarios.”

• “Commedia dell’Arte is shortened from commedia dell’Arte all’improvviso, or ‘comedy of the craft ofimprovisation’.”

• “It was played on outside, temporary stages, and relied on various props in place of extensivescenery.”

• “The characters usually represented fixed social types, stock characters, such as foolish old men,devious servants, or military officers full of false bravado”.

• “Characters such as Pantalone, El Dottore, or Arlecchino. They bean as satires on Italian ‘types’ and became the archetypes of many of the favourite characters of 17th- and 18th-century European theatre.

• Discuss how Commedia dell’Arte can lend itself to playwriting

• “We are going to work on creating a play in the same way that they would have done in Italy.”

• “We are going to use Commedia Archetypes to create a story through improvisational playwriting.”

ACTIVITY: Lab Research

• Students get into groups of 2 or 3. (Maximum of 14 groups)

• Each group receives “Lab Research” handout and select a character archetype

from printed list.

• Groups check-off archetypes, as they are selected in order to ensure that no

two groups research the same archetype.

• Research must include:

• What is the history of your archetype?• What are the physical characteristics of your archetype?

• Provide examples of this archetype in well-known theatre

• Provide mask samples for your archetype.

• Research must be based on one of the following archetypes:1. Vecchi

2. Pantalone

3. Il Dottore4. Il Capitano

TOTAL TIME: 4 classes (360 mins)

SUPPORTING

• "use a variety of technologies to organize and synthesize researched information” (ICT C7 2.1)

• “use appropriate strategies to locate information to meet personal needs” (ICT C7 4.1)



ACTIVITY: Presentations

• Groups hand out their 1-paged summaries to the class

• Groups present their presentations (5-10 minutes max)

ACTIVITY: Research Prep

• In their groups, students prepare information for presentation

• Presentation format may vary; it is up to the student. May include:

• Performance-based

• Powerpoint

• Verbalized lecture

• Interactive/Activity-based• Game-based

• Team-based

• Each presentation must run between 5 and 10 minutes.

• Students print off one copy of their 1-paged summary for each student in the

class.

5. Inamorato

6. Inamorata

7. Zanni

8. Arlecchino

9. Columbina

10. Brighella

11. Pulcinella

12. Gros-Guillaume

13. Comico

14. Pedrolino

1 class(90 mins)

1.5 classes(135 mins)

45 minsACTIVITY: Playwright Groups

• Students get into groups of 3 (maximum 10 groups total)

• These are the groups in which they will be collaborating for the remainder of

the unit.

• Students decide which character they want to portray—no two alike.

DIFFERENTIATION:

Students who have trouble with web-based research will have access to the library for book

resources and librarian assistance.

EVALUATION:

Formal/Summative

• Group presentation and handout for each researched character (10% of overall unit)• Teacher will use checklist to assess the presentation/content of each group



SUBJECT: DRAMA 20 TOPIC: CHARACTER EXPLORATION


MATERIALS:• Masks

• Idea Books

• Writing utensils

• Suggestions in a hat

LESSON OBJECTIVES:

Main:

• “demonstrate understanding that the character's behaviour is motivated by past, present and anticipated future expeirences” (#4, acting)

• “demonstrate a character's main objective within a scene” (#5 acting)

TIME:

5 mins

40 mins

ACTIVITY: ATMOSPHERE WALKS:

• Students will walk around the space in mask and begin to delve into their characterwhile exploring the main principles of Laban

• Fast vs. slow

• Direct vs indirect

• Heavy vs light

• Bound vs Free

• Sudden vs Sustained

• Flick vs Glide

• Teacher will yell out series of situations which students will use to deepen theirunderstanding of character movement. i.e.; how would your character react:

• in a rainstorm

• with someone chasing you through an alley

• when jumping in puddles

• with laser beams shooting at you

• on the moon, with much less gravity

• swimming through mollases

• swim through a crystal lake (breathing underwater)

• walking on fluffy clouds

• walking on hot coals

TOTAL TIME: 3 classes

Supporting:

• “Sustain a single character in a variety of situations” (#33, improvisation)

• “Define and identify plot, character, thought and diction" (#2, playwriting)

INTRODUCTION: CHARACTER EXPLORATION

• Explain that we will be exploring character physically, mentally and

emotionally today.

• Insist that actors remain in character while their masks are on• Remind actors that they must first take their masks off, if they intend

on speaking as themselves (i.e., take mask off and then ask "May I go

to the bathroom")



ACTIVITY: PHYSICALIZED STORY: BUILD ON LABAN.

• Students will pull a situation from a hat (ie: party, breakup, proposal, etc) andrehearse it without any speech in groups of 2-3, as a physical story.

• The students will then show this to the class, while the teacher starts addingsuggestions for what to do (ie: what if she says no to your proposal, now whatwould the character do?). The students have to follow through physically withsuggestions and build upon character reactions.

• Minimum of 30 suggestions in hat, and students will each get to work withmultiple scenarios by switching.

30 mins

10 mins

5 mins

CLOSURE: DISCUSSION

• Students will participate in a discussion and debrief reflecting on today's activities.

• They will respond to the following questions:

• What did that teach you about characterization?

• How will that help you with your play?

• What elements or qualities need to be considered when developing a character?(i.e. age, ailments, history...)

CLOSURE: IDEA BOOKS

• Students will find a space to themselves in the room in their playwriting groups.

• They will jot down notes/ideas/images that they have discovered today, highlightingkey moments and ideas that they believe will serve purpose in their final play.

EVALUATION:

• Students will be evaluated on class participation using a daily rating scale (on the class list)

25 minsACTIVITY: ONE WORD STORY!

• Teachers introduce the game through demonstration

• Students tell a story by contributing one-word at a time to a story in a

circle. (Ex: Student 1 says "Once", Student 2 says "Upon", Student 3

says "A"...etc)

• Whenever a character is introduced, students will join the middle of

the circle and embody said character.

(Ex: "In...the...woods...there...was...a...young...girl"; students steps into

the circle and acts as the girl).

• Only 3 students are allowed to embody a character in the centre of thecircle per story.

• Students receive a suggestion upon which to begin their scene before

starting

(Ex: Object/Person/Setting, etc.)



ACTIVITY: MERGING DIALOGUES

• Students will walk through the space in their masks.

• Teacher will yell "MERGE" and a number, followed by a topic. (i.e. "Merge 3, ThankGod It's Friday", or "Merge 5, "Wedding")

• Students will form groups of the corresponding number that has been yelled by the

teacher, and begin improvising small dialogues (including a conflict that needs to beresolved) around the suggested topic.

• Multiple storylines will occur at once.

• Students will be given a 1 minute warning to wrap up their dialogues.

• Teachers will side-coach in between each new call of "MERGE" while studentcontinue to mill about the room

• ex: "Remember that you're trying to start a story. Say more than just 'hey, how areyou.' Get to the root of the story faster.

• ex: "You can definitely start with a conflict, you have

• ex: Remember that your topic doesn't necessarily have to be your location. AWedding, may allude to a relationship, or a party, or a divorce... Milk yoursuggestions"

• ex: "Not every scene has to be a comedy. It's good that you are having fun, but feelfree to explore the dark-side of theatre, as well."

30 mins

20 mins

15 minsCLOSURE: DISCUSSION

• Students will participate in a discussion and debrief reflecting on today's activities.

• They will respond to the following questions:

• What plots conflicts arose? What made them interesting?

• Students will go around the circle and share one possible idea that they mayincorporate in their plays with the class before.

CLOSURE: IDEA BOOK

• Students will find a space to themselves in the room individually, making notes, thenregrouping with their playwriting team for discussion.

• They will jot down notes/ideas/images that they have discovered today, highlightingkey moments and ideas that they believe will serve purpose in their final play.

EVALUATION:


REMINDER: Ask students to bring an image (from a magazine or printed, or from a book) for the next class.

It can be anything.



DIFFERENTIATION:Students will be encouraged to explore characters in a multitude of ways: in writing, by verbalized expression of

thought, through a visual organizer, such as a mind map or brain dump activity.

10 mins

35 mins

40 mins

5 mins

MATERIALS:• Student's masks

• Idea Books

• Writing utensils

• Student's images.

WARM UP: CHARACTER QUESTIONNAIRE

• Students answer questions from a handout as their characters:• ex: What is your character's name?

• ex: Does the character have a nickname?

ACTIVITY: IMAGE CONNECTION

• Students will grab the images they brought in from home as well as their idea books.

• Teacher will instruct students to look at the image and map connections of words based onwhat that image represents to them.

• Students wil then select one of the mind map words and write a 2 minute free flowexcersice, never lifting their pen from the page in their idea books.

• Once time is up, they will select 3 impactful words from their free flow writing (anadjectives, noun, or emotions, etc.)

• The students will get into their playwriting groups and brainstorm how those 3 wordsimpact their character, and could impact their play/story. Each student will have a chanceto share. They will discuss how to incorportate this into their play.

ACTIVITY: MASK ACTIVITY

• Students will trade masks and explore new characters through a series of guided scenarios.Teacher will say:

• "Take a look at yourself in the mirror, what's the first thing you would do in themorning, go downstairs and make breakfast...what are you eating?"

• "You get a phone call, who is it? What conversation are you having with them? Whatmood does it put you in?"

• "Suddenly you realize you're late for work, you pack your things and run out the door,when you see your bus! Do you catch it or miss it? How does this make you feel?"

• "Suddenly you see someone looking at you. Who is it? Do you know them? Do you like

them?"

• "Channel the emotion that comes out of this situation, and begin to walk through thespace with that emotion in mind. Where does it hit you? What part of the body does itaffect the most. Lead from there. Find a gesture to keep repeating about this emotion."

• "Find a sound to go with it. Do this at 100% and then roll down and lay on your backand breathe."

EVALUATION:


• Teacher will collect idea books and make short formative comments for them for the following week.

CLOSURE: IDEA BOOKS

• Students put in any last thoughts into their Idea Books, as they will be collected forformative assessment at the end of class.



Character Questionnaire Handout

Ms Daver and Mr Eljamal

Answer the following questions as your character, in your journals.

• What kind of distinguishing facial features does your character have?

• Does your character have a birthmark? Where is it? What about scars? How did he/she get hem?

• Who are your character's friends and family? Who does she surround herself with? Who are the

people your character is closest to? Who does he/she wish he/she were closest to?

• What is his/her biggest fear?

• Does s/he have a secret?

• What makes your character laugh out loud?

• When has your character been in love? Had a broken heart?

• What do you consider your greatest achievement?

• What is your idea of perfect happiness?

• What is your current state of mind?

• What is your favourite occupation?

• What is your most treasured possession?

• What or who is the greatest love of your life?

• What is your favourite journey?

• What is your most marked characteristic?

• When and where were you the happiest?

• What is it that you most dislike?

• what is your greatest fear?

• what is your greatest extravagance?

• Which living person do you most despise?

• What is your greatest regret?

• Which talent would you most like to have?

• Where would you like to live?

• What do you regard as the lowest depth of misery

• What is the quality you most like in a man?

• What is the quality you most like in a woman?

• What is the trait you most deplore in yourself?

• What is the trait you most deplore in others?

• What do you most value in your friends?

• Who is your favourite hero of fiction?

• Which living person do you most admire?

• What do you consider the most overrated virtue?

• Which words or phrases do you most overuse?

• If you could change one thing about yourself, what would it be?

• How would you like to die



SUPPORTING:

• "recognize the elements of critique" (#3, theatre studies)

• "Give and accept"(#13, playwriting)

SUBJECT: DRAMA 20 TOPIC: PERFORMANCE CREATION & PRESENTATION


MATERIALS:

• Student Masks

OPTIONALS:• Props that are appropriate

to to student's scenes.

LESSON OBJECTIVES:

MAIN:

• “demonstrate a character's immediate or moment-to-moment objectiveswithin a scene” (#6, acting)

• “demonstrate the techniques of sharing, giving and taking focus” (#34,

improvisation)

• “demonstrate understanding of how the use of levels and planes can focusthe stage picture.” (#35, improvisation)

TIME:

20 mins

2 mins

68 mins

WARM UP: Tableaux

• Students will prepare 3-5 tableaux.

• Students will discuss a strong beginning, middle and end image, and put these into atableau for the class.

• Class will take a moment or two after tableau to give feedback on the group's theme,character, and plot.

• Each tableau will serve to give playwrights a visual of what their script may look likeonstage (i.e. visual storytelling)

ACTIVITY: Scene Rehearsal • Students will select one scene from their play to perform for the class

• Students will embody characters represented by the mask that they have made

• Students will spread out to corners of the drama room, or find alternative spaces inthe school to rehearse.

• Students will focus on:

• Objective & characterization

• Blocking

• Timing

• Costume

• Memorization

• Students will spread out to corners of the drama room, or find alternative spaces inthe school to rehearse.

• Teacher will visit each group and side-coach them through their rehearsal process.• What is your character's objective right now?

• Why is your character making the decision that they are?

• How can you utilize more levels in this scene?

TOTAL TIME: 5 classes

WARM UP: Shake Down

• Students will perform a body shake-down. They will shake the following body parts inincrements of 5, 4, 3, 2, and 1.

• Left hand, right hand, left foot, right foot, whole body

EVALUATION:

• Teacher will be evaluated on class participation using a daily rating scale (on the class list)



DIFFERENTIATION:• ELL students may sue their scripts on stage for reference, during performance.

• Students may rehearse and perform their scene outside of the drama room/theatre if it better supports their storyline —as long as it is on the school grounds.

• Students may choose to film their scene and present it in class, if they feel that the medium would better suit theirscript

ACTIVITY: Scene Performance

• Students will perform their scenes and receive both peer and teacher feedback.

• Students will watch each others performances and provide feedback.

• There will be approximately 3-5 minutes of transition time between the scenes forcostuming/set purposes.

• Peer feedback will be based on the "three hugs and a wish" format.

90 mins

ACTIVITY: Scene Rehearsal

• Students will continue with scene rehearsal as from previous class.90 mins

EVALUATION:


ACTIVITY: Scene Rehearsal

• Students will continue with scene rehearsal as from previous class.90 mins

EVALUATION:


EVALUATION:


• Teacher will assess each performance according to Commedia Performance Rubric. (25% of unit grade).

ACTIVITY: Scene Performance

• Students will continue with scene performance as from previous scene.90 mins

EVALUATION:


• Teacher will assess each performance according to Commedia Performance Rubric. (25% of unit grade).




UNIT EVALUATION .

Daily Participation — 10%

Commedia Archetype Presentation & Handout — 20%

Mask —10%

Playwright Idea-Books — 10%

Final Script — 25% Final Performance 25%

FORMAL/SUMMATIVE EVALUATIONS .

*All rubrics will be shared with students, in order to review expectations ahead of time*

Daily Participation Rubric1 2 3 4 5

Student exhibited no

effort, concentration or

commitment

Student showed poor

effort, concentration or

little commitment

Student showed

satisfactory effort,concentration or

commitment

Student exhibited good

effort, concentration and

commitment

Student showed

excellent development

in attitude, skills, effort,concentration,

commitment and

contribution

Student Name: ______________________ ___/20

Written Feedback:




Commedia Archetype Presentation & Handout Rubric

1 2 3 4

Handout No handout was submitted

Handout was

disorganized and

difficult to comprehend

Handout was mostly

organized and easy to

comprehend

Handout was

exceptionally organized

and easy to comprehend

ContentContent lacked clarity and

focus

Content was rarely clear

and focused.

Content was mostly

clear and focused

Exceptionally clear,

focused and interesting

content with rich details

and examples

Presentation

No demonstration of content

knowledge, speaking, and

presenting skills

Limited demonstration

of content knowledge,

speaking, and

presenting skills

Considerable

demonstration of

content knowledge,

speaking and presenting

skills

Thorough demonstration

of content knowledge,

speaking, and

presenting skills

References No references usedPulled from and cited

one source

Pulled from and cited

two to three sources

Pulled from and cited

four or more sources

Student Name: ______________________ ___/16

Written Feedback:




Mask Rubric

FAIL (49%) PASS (100%)

Incomplete Complete

Student Name: ______________________ ___/100

Written Feedback:

Idea-Book Rubric

Evaluated with short written feedback

FAIL (49%) PASS (100%)

Incomplete Complete

Student Name: ______________________ ___/100

Written Feedback:




Final Performance (Staged)Evaluated with short written feedback as to what students need to do to improve, as well as what was done well.

This will act as a justification of marks. (i.e. if parents ask why their child was placed at a 2 versus a 3)

1 2 3 4

Creativity No performanceMaterial presented with little

interpretations or originality

Some apparent originality

displayed through use of

original interpretation of

presented materials

Exceptional originality of

presented material and

interpretation

Understanding No performance

Actors seldom demonstrated

an understanding of scriptand motivation of characters

throughout the performance

Actors demonstrated anadequate understanding of

script and motivation of

characters throughout the

performance

Actors demonstrate anexceptional understanding of

the script and motivation of


performance

Stage Imagery No performance

Actor seldom showed an

understanding of how to use

levels and planes in order tofocus on a stage picture

Actors demonstrated an

adequate understanding ofhow to use levels and planes

in order to focus on a stage

picture


exceptional understanding of

how to use levels and planes inorder to focus a stage picture.

Body & Voice No performance

Actor seldom demonstrated

the ability to connect to the

character’s voice and

movement quality.

Actor demonstrated an

adequate understanding of

how to connect to character’s

voice and movement quality.



connection to character’s voice

and movement quality.

Ensemble No performance

Actors seldom worked

together to establish the

mood and meaning of the

play

Actors almost always worked

together to establish the mood

and meaning of the play

Actors worked together with

imagination to establish the

mood and meaning of the play

Student Name: ______________________ ___/20

Written Feedback:




Final Performance (Recorded)Evaluated with short written feedback as to what students need to do to improve, as well as what was done well.


1 2 3 4

Creativity No performanceMaterial presented with little

interpretations or originality

Some apparent originality

displayed through use of

original interpretation of

presented materials

Exceptional originality of

presented material and

interpretation

Understanding No performance

Actors seldom demonstrated an

understanding of script andmotivation of characters


Actors almost alwaysdemonstrated an

understanding of script and

motivation of characters


Actors demonstrate anexceptional understanding of the

script and motivation of


performance

Shot

Compositions No performance

Student seldom showed anunderstanding of how to use shots

in order to focus on pictures and


adequate understanding ofhow to use levels and planes

in order to focus on a stage

picture



how to use levels and planes inorder to focus a stage picture.

Body & Voice No performance

Actor seldom demonstrated the

ability to connect to the

character’s voice and movement

quality.


adequate understanding of

how to connect to character’s

voice and movement quality.



connection to character’s voice

and movement quality.

Ensemble No performance

Actors seldom worked together to

establish the mood and meaning of

the play

Actors almost always worked

together to establish the mood

and meaning of the play

Actors worked together with

imagination to establish the

mood and meaning of the play

Student Name: ______________________ ___/20

Written Feedback:




Final Script RubricEvaluated with short written feedback as to what students need to do to improve, as well as what was done well.


1 2 3 4

Organization No script submittedIdeas and scenes seem to be

randomly arranged

The story is a little hard to follow.

The transitions are sometimes

unclear

The story is well organized. Oneidea or scene follows another in a

logical sequence with clear

transitions

Setting No script submitted

The reader has trouble figuring

out when and where the story

took place. No introduction isgiven, and if there is, specifics are

not.

Some vivid descriptive words are

used to tell the audience when and

where the story took place. It is notclear where all scenes take place

Many vivid, descriptive words are

used to tell when and where thestory took place

Dialogue &

Diction No script submitted

Dialogue is choppy and not

well-developed.

Dialogue is well developed, but

could be more varied in structure

Dialogue is well developed and

varied

Problem &

Conflict No script submitted

It is not clear what problem the

main characters face

It is fairly easy for the reader to

understand the problem the main

characters face and why it is a

problem

It is very easy for the reader to

understand the problem the main

character face and why it is a

problem.

Solution &

Resolution No script submitted

No solution is attempted or it is

too difficult to understand

The solution to the play’s central

problem is easy to understand and is

somewhat logical

The solution to the play’s central

problem is easy to understand, and

is logical. There are no loose ends

Script

Formatting No script submitted

It is unclear which character is

speaking and proper ‘print’ is not

used correctly throughout.

It is usually clear to understand

which character is speaking, but

proper ‘print’ is not used correctly

throughout

It is always clear which character is

speaking. Proper print and format

used.

Student Name: ______________________ ___/24

Written Feedback:




INFORMAL/FORMATIVE EVALUATIONS .

Reading Scripts

At the end of Lesson #4, teacher will read script and give students written formative feedback. Students may then use

this feedback to improve their script before submitting it for summative evaluation

Peer Feedback

Students will give each other peer feedback after their performance in response to the following components:

1) Quality and Clarity of Setting

2) Quality and Clarity of Dialogue & Diction

3) Quality of Creativity

4) Quality and Clarity of Presentation

Ideas for Play

Students will go around the circle and share with the class one possible idea that has arisen in the day which they may

incorporate into their plays.

Idea Book Feedback

Students will hand in their idea books once before the final summative hand in, and teacher will circle one positive idea

and make a comment for students to work on throughout their documentation. Teacher will make comments such as:

“Great image, this definitely relates to dark mood, might want to consider a drama for the script you write! Try to

incorporate this image somehow, maybe in a line of the play, or as a set piece?” or “Interesting that you’re so drawn to

this character, I would definitely consider a scene with El Dottore if you’d like to incorporate this character. What kind

of conflict could they have? What kind of resolution could be found?”

Rehearsal/Performance Preparation Feedback

While students are putting their scenes together throughout the given rehearsal time slots, the teacher will map out

some time to go visit each group’s rehearsal and give verbal feedback after watching the process, for students to be able

to think about specific components of their work, or to make suggestions for the final performance. Teacher might say

something like: “I really like that you’re working on your character so deeply, but consider a bit more use of the stage,

there’s a lot of movement in such a concentrated area”.




GLOSSARY OF TERMS .

LESSON ONE TERMS

(Commedia Archetypes)

COMMEDIA DELL’ARTE

CHARACTER

ANTAGONIST

PROTAGONIST

LESSON TWO TERMS

(Mask-Making)

COLOUR

TEXTURING

LESSON THREE TERMS

(Character Exploration)

DICTION

OBJECTIVE

PACE

RHYTHM

SCENE

MOTIVATION

SCENARIO

INTERIOR MONOLOGUE

LESSON FOUR TERMS

(Documentation)

CONFLICT

EXPOSITION

PLOT

SCRIPT FORMAT

STRUCTURE

COMEDY

TRAGEDY

WORKSHOP

LESSON FIVE TERMS

(Performance Creation & Presentation)

ACTOR/STAGE DIRECTIONS

FOCUS

CRITIQUE

OFFERING

THOUGHT

ACTOR/STAGE DIRECTIONS -The playwright’s indication of the expected stage action, vocal interpretation or

other production arrangements.

ANTAGONIST - The character who impedes the action of the play. (Playwriting, Teacher’s Manual; Senior High

Drama)

CHARACTER - The person, created by the playwright, who is appropriate to the plot and thought of the play.

(Playwriting, Teacher’s Manual; Senior High Drama)

CONFLICT - A character’s struggle with himself, with an idea, with another character, with the environment.

(Playwriting, Teacher’s Manual; Senior High Drama)

COLOUR - a) Traditional — use of colour governed by historical or architectural precedent.

b) Symbolic — use of colour to denote the character traits of the individual, as well as character

relationships.

c) Psychological — use of colour to denote the personality of the individual.




(Technical Theatre/Design, Teacher’s Manual; Senior High Drama)

COMMEDIA DELL'ARTE - A form of theatre characterized by mask “types” which began in Italy in the 16th

century and was responsible for the advent of the actresses and improvised performances based on sketches or

scenarios.

COMEDY - A play that is generally light in tone, concerned with issues that are not serious. Designed to amuse and

provoke laughter. Often pokes fun at social, political and/or cultural conditions and figures (Theatre Studies, Teacher’s

Manual; Senior High Drama)

CRITIQUE - Evaluating or assessing the effectiveness of the work and/or the appropriateness of the choices made by

the creator(s) or performer(s); constructive criticism (Theatre Studies, Teacher’s Manual; Senior High Drama)

DICTION - The play’s words expressed in a dialogue or monologues that are appropriate to the character and thought

of the play. (Playwriting, Teacher’s Manual; Senior High Drama)

EXPOSITION - The necessary background information revealed to the audience. There are two types: information

known to everyone on stage and information known by some or one of the characters. (Playwriting, Teacher’s Manual;

Senior High Drama)

FOCUS - The means, e.g., location, body position, level, used to direct the attention of the audience to a particular

point, character, line or gesture that is most important at a given moment.

a) “Giving” focus — the process whereby one actor takes a less dominant position in order to give more

emphasis to another actor.

b) “Taking” focus — the process of attracting the attention of the audience at the appropriate moment.

c) “Sharing” focus — the process whereby the attention is shared

(Improvisation, Teacher’s Manual; Senior High Drama)

INTERIOR MONOLOGUE - The thoughts of the character; what the character is honestly thinking or feeling each

moment. ( Acting, Teacher’s Manual; Senior High Drama)

MOTIVATION - That which disposes someone to speak or behave in a particular way (Acting, Teacher’s Manual;

Senior High Drama)

OBJECTIVE - The character’s purpose; what it is that the character wants. Objectives must be active and precise —

that is, capable of being acted and understood by the audience. (Playwriting, Teacher’s Manual; Senior High Drama)

OFFERING - Initiating an idea or premise (Improvisation, Teacher’s Manual; Senior High Drama)

PACE - The rate or speed at which characters speak, circulate or move, literally or metaphorically toward a goal. For

example, an increase in pace may coincide with an increase in emotional or comic tension. (Playwriting, Teacher’s


PLOT - The main storyline of a play. (Playwriting, Teacher’s Manual; Senior High Drama)




PROTAGONIST - The character who advances the action of the play. (Playwriting, Teacher’s Manual; Senior High

Drama)

RHYTHM - An ordered, recurrent alteration of strong and weak elements in the flow of sound and silence in speech

and movement patterns. (Playwriting, Teacher’s Manual; Senior High Drama)

SCENARIO - The narrative description of the play — “this happens and then this, and then this.” The actions always

involve character, motivations and responses. (Playwriting, Teacher’s Manual; Senior High Drama)

SCENE - Any portion of a dramatic work that can stand on its own as a unit of action. (Playwriting, Teacher’s


SCRIPT FORMAT - The traditional typographical form for transcribing the playscript including initial incident,

rising action, climax and denouement. (Playwriting, Teacher’s Manual; Senior High Drama)

STRUCTURE - The framework or general shape of a script including beginning, middle and end, and initial incident,

rising action, climax and denouement. (Playwriting, Teacher’s Manual; Senior High Drama)

TEXTURING - Painting highlights and shadows on to [an object], thereby giving the illusion of three dimensions and

texture.

THOUGHT - The subject, theme, play’s message or idea. (Playwriting, Teacher’s Manual; Senior High Drama)

TRAGEDY - A play in which the protagonist fails to achieve desired goals or is overcome by opposing forces.

Traditionally, the protagonist is brought to catastrophe as a result of his or her own passion, limitation or “tragic flaw”

(Theatre Studies, Teacher’s Manual; Senior High Drama)

WORKSHOP - The process of taking a new script to the stage for a workout; a situation where actors, director,

designer and playwright contribute to forming and refining the script through discussion, activity and constructivecriticism. (Playwriting, Teacher’s Manual; Senior High Drama)

Bibliography of Resources .

Commedia dell' Carte Home Page. (n.d.). Retrieved January 29, 2015, from

http://shane-arts.com/commedia.html

Calgary's #1 Halloween and costume shop. 2 locations in Calgary. Online orders. (n.d.). Retrieved February 2,

2015, from https://donshobbyshop.ca/

Drama 10-20-30 (Senior High) Program of Studies. (1989, January 1). Retrieved January 29, 2015, from

https://education.alberta.ca/media/313060/drama10.pdf

Pura, T. (2002). Stages: Creative ideas for teaching drama. Winnipeg: J. Gordon Shillingford Pub

Spencer, S. (2002). The playwright's guidebook. New York: Faber and Faber

Spolin, V. (1986). Theatre games for the classroom. Evanston, IL: Northwestern University Press.

Teacher's Resource Manual: Drama Senior High School. (1989). Edmonton, Alberta: Alberta Education

Cataloguing in Publication Data.

https://www.google.com/url?q=https%3A%2F%2Feducation.alberta.ca%2Fmedia%2F313060%2Fdrama10.pdf&sa=D&sntz=1&usg=AFQjCNEjV5wQTEPmNaecmj_gZC71ILh7rQ

http://www.google.com/url?q=http%3A%2F%2Fshane-arts.com%2Fcommedia.html&sa=D&sntz=1&usg=AFQjCNFZX8aan8dd32IpQHdLLZV1zLjT-w

Documents

Unit Planning - Commedia Dell'Arte (Drama 20)